24 Jun 2009
Saint Louis: Reliably Excellent
It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States.
There. I said it. Let the Glimmerglasswegians and the Santa Fesions rail and fuss, but OTSL has really got the whole package together: top quality musical offerings, exciting young singers well on the road to major careers, well-considered theatrical stagings that rival any major house (any), and an extra-musical ambiance that is just about unbeatable. Approaching the house through the lawn area profuse with candle-lit tables, free to any pre-show picnickers who care to use them, and being able to stay after the show to party, applaud, and mingle with the artists in the large Fest tent, well, it is sort of Glyndebourne without the ‘tude.
Add to the mix the fact that this troupe has consistently performed their repertoire in English, in a small house that fosters great immediacy of the theatrical experience, at competitive prices, and, good God, it is 'popular' opera! (Even when the title is not of the bread-and-butter variety). True, the Loretto Hilton lobby is cramped on SRO evenings but. . .there is always a stroll available on that candle-dotted lawn.
My recent visit found this resourceful company in its usual fine artistic form, beginning with as enchanting a production as I imagine possible of Mozart’s Il Re Pastore (The Shepherd King).
Wolfgang’s youthful (he was nineteen) work is set to a much-used libretto by Metastasio, and is of the formulaic opera seria vintage. You know, the kind that can be dead boring no matter how well it is performed. Not so here, thanks to a wholly winning, and dramatically truthful production directed by Chas Rader-Shieber.
For Mr. R-S has imagined it as a sort of Upstairs Downstairs episode with high notes, set in an English country house in a prior century, where a wealthy young woman and her fiance are hosting another well-to-do couple for a visit. After perusing the actual score of Re in this setting, our heroine becomes committed to the group’s enacting the story as the day’s entertainment, assigning roles to not only the other society figures, but also to the bustling servants.
This giddy, play-acting atmosphere yielded impressive results, not only in filling the story with meaningful (and not distracting) stage business, but also allowing for emotional honesty and invention in the many (usually) static set pieces of this genre. It did not hurt that David Zinn’s set was one of the most beautiful I can recall on this St. Louis stage, impeccably dressed. Nor that Robert Perziola’s classy costumes spoke volumes in defining the character relationships, and clarifying plot absurdities, including one drop-dead-gorgeous beaded gown for “Arminta.”
But all this technical brilliance would have been for naught without a top notch cast, and this, too, OTSL delivered in spades. The Gerdine Young Artists development program is a model of its kind, and this investment obviously pays off handsomely as four of the five soloists are former participants.L to R (foreground): Paul Appleby as Agenore, Daniela Mak as Tamiri, Alek Shrader as Alexander, Heidi Stober as Aminta, and Maureen McKay as Elisa in Il Re Pastore
Heidi Stober was radiant as the young affianced woman who is compelled to impersonate the Shepherd King Arminta and enact his plight. Her ample, well-schooled, warm lyric soprano blossomed especially above the staff, and her stage demeanor served up a generous helping of star-quality. Miss Stober was well partnered by her “betrothed,” the tenor Alek Schrader, pressed into duty to play the emperor Alexander. Mr. Schrader has an exceptionally pleasing Mozartean timbre, and his bravura rapid-fire melismatic phrases were heart-racingly delivered.
My favorable impression of Maureen McKay in last summer’s Un Cosa Rara was here confirmed with a securely sung Elisa, a maid who briefly enjoys enacting the longings of a noblewoman. Miss KcKay is capable of regaling us with accurate cascades of fioritura, likewise deploying her crystal clear tone in melting legato phrases. Her spunky stage savvy is equally bewitching. Paul Appleby has fewer fireworks to negotiate in the role of Agenore (advisor to Alexander, in love with Tamiri), but he sang with style and panache. As Tamiri, Daniela Mack complemented her cast mates with her slightly darker rich tone and attention to every musical detail. All five offered fine English diction, coached on this occasion by soprano Erie Mills.
In the pit, conductor Jean-Marie Zeitouni discovered all the youthful spirit and buoyant lyrical possibilities in the score (after a bit of a slack rhythmic start in the first few bars), and there was wonderful solo instrumental work as well throughout the evening. His conscientious partnering of the singers seemed to free them to soar through this youthful-but-challenging work.
The baton was successfully passed the very next night to another conductor whose stock is rising, Michael Christie, who helmed a musically rich reading of The Ghosts of Versailles, by John Corigliano, libretto by William M. Hoffman. After a sensational debut at the Metropolitan Opera in the early 90’s which was followed by several other revivals in major houses, Ghosts languished, largely (it is believed) owing to the lavish original designs, and massive instrumental and vocal forces required.
At St. Louis, the production team and composer have sought to down-size the piece to make it more accessible to smaller opera companies. As evidenced here, they have been largely successful in their attempt. Corigiliano is a brilliant orchestrator, and his original score took full advantage of the huge pit and full band of the Met. Here, Ghosts was re-scored in a new performing edition commissioned by OTSL and executed by John David Earnest. It was quite a successful trade-off, and much variety and color remained, many times (favorably) suggesting the smaller scores of Benjamin Britten. While the instrumental presence was almost always ample, there were a few climactic moments that seemed a mite under-powered, not least of which was the very final sting of Act One. These minor quibbles aside, this was a very fine re-working of the piece, that retained its musical integrity.Kevin J. Glavin as Louis XVI and Maria Kanyova as Marie Antoinette with (at rear l. to r.) Dorothy Byrne as Susanna and Hanan Alattar as Rosina in The Ghosts of Versaille
We were equally fortunate with the physical production, directed by James Robinson, with sets by Allen Moyer, costumes by James Schuette, and most important, highly evocative video projections by Wendall K. Harrington. As we entered the auditorium, we discovered the theatre at Versailles, on stage, being refurbished by a contemporary restoration crew in blue jump suits. That image segued into the arrival of the ghosts, attired in lavish period costumes, and superb wigs/make-up by Tom Watson (a company treasure, he). The first notes of the score sounded, sans the usual conductor’s entrance, and the lighting melded into disorienting video work that transported us to the deserted stage of long ago, “beyond time” as the program noted. It should be said that Paul Palazzo provided the uncommonly fine lighting designs for both evening’s performances.
One element of the work that resisted diminution was the large cast demand. It took a village to get this work up, and there was great depth in the entire cast largely thanks (again) to the company’s young artists, who also formed the chorus under Sandra Horst’s direction. I did find that the dancers contributed less to the overall dramatic experience than they might have, and elimination of the dance corps might be a possible further cut-back. The stage got crowded at times, although Mr. Robinson not only managed the traffic well, but focused the important dramatic moments and developed believable characters and strong relationships.
Without creating a laundry list, it is hard to single out all who were excellent in this large ensemble cast. Certainly expectations were high for Maria Kanyova (another former apprentice) as Marie Antoinette, and she did not disappoint. Ms. Kanyova has a responsive soprano, with a hint of metal that stands her in good stead in dramatic segments, but she can also scale her voice down to float effective pianissimi that veritably float above the staff. She was a worthy successor to the great Teresa Stratas who created the role. Christopher Feigum was suitably winning as Figaro, although in his first big aria all the acting seemed to be external. The internal spark of creation crept in sometime during his (quite funny) Act One finale drag moments as the harem girl and he remained fully engaged for the rest of night. His pliant, smooth baritone gave considerable pleasure and he is a talent to watch.
Mr. Corigliano apparently loves his baritones and he created a fine complementary foil in Beaumarchais, well-taken on this occasion by James Weston. As should be, Mr. Weston has a little more maturity of tone and the bronze patina of his upper register contributed to a very effective contrast. His love for the doomed heroine was wonderfully embodied and his alternately witty and sensitive delivery enabled a well-rounded character to emerge.
As stage characters in the concurrent Figaro comedy, a jewel of an ensemble worked tightly together in a slightly heightened play-acting style. Samuel Read Levine (Leon), Paula Murrihy (Cherubino), Sean Panikkar (Almaviva) were all terrific, with young artist Jeanette Vechhione capturing the most applause for her technically secure stratospheric singing as Florestine. Hanan Alattar and Dorothy Byrne were exquisite in their limpid lyrical outpouring of the extended Act Two duet for Rosina and Susanna, a musical high point.
The real-time bad guys were equally well-served by Lee Gregory, a vocally assured and physically active (and fearless) Wilhelm, and by stentorian, tireless tenor (and fine character actor) Matthew DiBattista as Begearss. Elizabeth Batton did everything possible to amuse us in her star turn as Samira. Originally created for the particular gifts of Marilyn Horne, Ms. Batton made it her own with plummy tone, a well-modulated chest voice, and sound technique in the middle and (ringing) upper reaches. Quite a comedian, she wisely eschewed the baritonal power of Ms. Horne for an equally successful and personalized performance.
If I had to mention only three more performers, I would include the characterful Louis XVI from Kevin J. Glavin, the firm-voiced Marquis of Kevin Park, and the delightful Woman with Hat sung by Erin Holland.
Upon re-visiting The Ghosts of Versailles I still found it a particularly well-calculated mix of old and new styles, in turn challenging and comfortable, telling a dramatically satisfying and captivating story of fate and acceptance. If I still feel that the arias go on a bit longer than needed to make their musical or dramatic point, they never become uninteresting, especially in the hands of such a capable roster of performers.
This production will go on to fall’s Wexford Festival, and it alone would make it worth the trip to Ireland. It deserves many more performances.